According to the science of haptics, interpersonal touching varies from culture to culture. Latin countries, Italy and the Middle East exhibit significantly higher rates than Japan, the UK or USA. Small wonder, then, that the touchy-feely 1970s met a mixed reception in traditionally low-touch, high-tech America, whose ambivalence made John Klemmer both victor and victim. Plugging his sax into an electronic echo chamber, backed by phase-shifting electric piano and exotic percussion, Klemmer struck a goldmine of what he calls "primal urges." Yet this archetypal hotline, he now concedes, blinded us to his artistic depth. We mistook his aboriginal masterpieces for suburban make-out music.